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Download (409Kb) This is an Open Access document downloaded from ORCA, Cardiff University's institutional repository: http://orca.cf.ac.uk/118372/ This is the author’s version of a work that was submitted to / accepted for publication. Citation for final published version: Smith, Daniel 2014. Charlie is so "English"-like: nationality and the branded celebrity person in the age of YouTube. Celebrity Studies 5 (3) , pp. 256-274. 10.1080/19392397.2014.903160 file Publishers page: http://dx.doi.org/10.1080/19392397.2014.903160 <http://dx.doi.org/10.1080/19392397.2014.903160> Please note: Changes made as a result of publishing processes such as copy-editing, formatting and page numbers may not be reflected in this version. For the definitive version of this publication, please refer to the published source. You are advised to consult the publisher’s version if you wish to cite this paper. This version is being made available in accordance with publisher policies. See http://orca.cf.ac.uk/policies.html for usage policies. Copyright and moral rights for publications made available in ORCA are retained by the copyright holders. TITLE: Charlie-is-so-“English”-like: Nationality and the branded-celebrity person in the age of YouTube ABSTRACT: The YouTube celebrity is a novel social phenomenon. While this seeming novelty has bearing on developments in the social and cultural study of celebrity more generally, this article focuses upon one case-study – Charlie McDonnell and his video ‘How to be English’. It argues the YouTube celebrity is able to construct a celebrity personage through turning one’s socio-cultural aspects of identity, such as nationality, into components to be drawn upon by using them as masks to perform with. Use of these masks of identity allows one to develop a YouTube celebrity. By situating Charlie’s ‘How to be English’ in the context of establishing celebrity, this article argues that the processes of ‘self-branding’ and forging a following utilises the power of myths for resolving the contradictions of social practice, as Lévi-Strauss suggested. The premise of YouTube – ‘Broadcast Yourself’ but ‘what self?’ – allows for one to develop various aspects of their person into personas. One such persona for Charlie is ‘Englishness’ and as the social experience of ‘Broadcasting Yourself’ necessarily asks one to turn ordinary aspects of their person into extra-ordinary aspects. Vlogging celebrity allows ‘being English’ to lead to ‘Englishness’ as a mythological recourse to overcome the problem of ‘self-promotion’. KEYWORDS: YouTube * Charlie McDonnell * Branding * Mythology * Englishness 1 Introduction YouTube has become a platform for the creation of a ‘branded’ personhood. With this it has forged a celebrity sub-culture of its own, a ‘big-name’ example being Charlie McDonnell. Charlie has a cult following and has had features written about him in the national press on the success of his YouTube videos. Charlie’s highest viewed video to date is his ‘Duet with Myself’ (viewed over 7 million times) and he has over one million ‘subscribers’ to his channel. Charlie has become a YouTube celebrity after beginning video- blogging when revising for his GCSE exams in April 2007. After gaining something of a following, his vlogging has since become his profession. His YouTube celebrity began when he was featured on the UK homepage of YouTube for his video ‘How to get featured on YouTube’ (www.charliemcdonnell.com) and national celebrity from his video ‘How to be English’ (BBC Breakfast, 2007). After gaining a substantial following, YouTube granted him ‘partner’ status and started to pay Charlie for uploading his vlogs. From viewing Charlie’s videos one can follow what this investment has given him. It is a job with a salary which is able to help him share a mortgage on a house with fellow vlogger, Alex Day (‘nerimon’), and a life to diarise. But as this is Charlie’s job we also realise that he is also his own product. He is Charlie Inc. and sells the ‘charlieissocoollike’ brand. Using Charlie as a case study, I argue that branded-celebrity is increasingly becoming a central aspect to personhood in contemporary society (cf. Lury, 2005; Adkins, 2005). Celebrities act as commodities in that they sell their personalities to the public but also as a brand in that they develop a ‘name’ for themselves (Lury, 2005). The celebrity-brand or ‘branded person’ has implications for the status of the individual and also how we view our culture more generally. By highlighting how celebrity in modern culture rests upon the cult of the individual suggested by Durkheim (in Giddens, 1972) and that this celebrity-brand is accomplished by self-commodification through the development of a persona (Mauss, 1985), I shall outline how YouTube acts as the platform for a branded-personhood. Part of Charlie’s celebrity is his ‘English’ persona. ‘Persona’, as explored by Marcel Mauss (1985), referred to Roman legal status and a person’s ability to assume the role of ‘the imagines… of their ancestors’. It was an ‘artificial character’ that would ‘become synonymous with the true nature of the individual’ (Mauss 1985, p.17). The notion of 2 persona as character types handed down from the past is central to my argument on YouTube celebrity. As video-blogs supposedly capture ‘everyday life’ and various aspects of the vbloggers’ ordinariness, their celebrity relies more and more on what their ordinariness is able to espouse – with Charlie this is his ‘Englishness.’ Using Charlie’s ‘How to be English’ video, where he plays a spoof English stereotype instructing the viewer on how to make the ‘perfect cup of tea’, I addresses how YouTube allows for the circulation of mythic elements of national identity through the global platform which YouTube’s ‘broadcast yourself’ ideology encourages. The stereotypical Englishness evoked by ‘the perfect cup of tea’ is one without an internal referent in English society yet is recognisable to a global constituency as synonymous with Englishness. Becoming a YouTube celebrity encourages the perpetuation of these cultural stereotypes in order to ‘broadcast yourself’ to a sea of anonymity. Celebrity on YouTube can largely be seen as turning the ordinary into something extra-ordinary (Strangelove, 2010), a phenomenon observed in celebrity culture more generally, notably reality television (cf. Littler, 2002). National identity in this case is at once either a nominal aspect of the person who video-blogs, or online it can become a more central facet of their celebrity and thereby more akin to film actors: e.g. Hugh Grant’s Englishness. Combining celebrity as personage – persons of note in a ritual-context (Mauss 1985, p.4) – and national persona are in fact complimentary aspects as vlogger’s become notable persons who exemplify national character types in a very recognisable manner. Using Alexander’s (2010, pp.325-329; 2008, p.6-8) notion that celebrities combine objectification of their ‘self’ with audience subjectification, we can see that the celebrity relies on aspects of persona as well as a stage-by-stage process of celebrification (Rojek 2001, p.181ff): ordinary aspects of one’s ‘nationality’ become increasingly part-and-parcel of what this particular celebrity- personage exemplifies. YouTube is especially effective as celebrity becomes much more intimate in terms of the mode of reception: videos are uploaded frequently and watched by persons via more immediate devices – iPhones, laptops – not by a ‘public’ in the sense of mass media celebrity (cf. Marshall 2010, p.44-45). This, as YouTuber’s have commented, makes the watching experience more (a) engaged and (b) viewers more involved in the content, conta. television’s ‘laid back’ ‘switched off’ ‘relaxed’ mode of watching.1 While not the sole reason for Charlie’s success on YouTube, Charlie’s persona of ‘Englishness’ represents the mythic value of speech in an on-line, ‘parasocial’ (Marshall, 2010 p.43-44) domain. Myths are stories where the act of telling them promotes wider socio- 3 cultural meanings despite being isolated to particular speakers when (re)told; the myth is seen as perpetuating itself for its central value lies preserving cultural values through retelling (Lévi-Strauss, 1963 p.210). The parasocial use of national identity myths explored here demonstrates the process of YouTube celebrification. Stemming from Charlie’s mediation to act upon a global platform, his English persona spirals into other media and speaks for ‘Englishness’ as it performs ‘Englishness’ – part of what Turner (2009 p.143) calls the ‘immanence of connectedness’ offered by YouTube. As such, evoking Englishness functions as a myth (Lévi-Strauss, 1963, 1966): it espouses the origins of personality by providing a story made up of empirical elements whose analysis renders patterns apparent and, via repetition, aim to ‘provide a logical model capable of overcoming a contradiction…’ (Lévi- Strauss 1963 p.229). This is the ‘intellectual impulse’ (Lévi-Strauss 1963, p.229) which provokes mythology. I shall argue the contradiction to be overcome is the mediating activity of creating a YouTube persona: the utilisation of nationality myths is part of the performance of self and the forging of a celebrity personage. As a contribution to celebrity literature, I follow those who have argued celebrity- selves are like masks representing mythic persons (Alexander, 2010; Marshall, 2010). I argue that YouTube emphasises this masking in celebrification while also granting a heightened self-awareness and ‘meta’ status to celebrity. With Charlie, this arose from his parody of Englishness which later became part of his celebrity-personality and ‘brand.’ With regard to YouTube literature more specifically, Charlie’s parody of Englishness can be seen as part of the vaudevillian character of video-blogging (Burgess & Green, 2009; Jenkins, 2006). And as Hurtley (2009) has also argued, the use of mythic speech on YouTube draws our attention to the theatrical dimensions of everyday ‘presentation of self’.
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